The Plan
by Chyncia
Summary: All about Bette and Tina...will they make it?
1. CH 1 Seeing through the Haze of Pain

**Seeing through the Haze of Pain**

SCENE: 6 Months ago. Bette is driving down a dark highway with Angelica in the backseat. They make it into the little tourist town and have to stop at a stop sign. Bette looks at the stop sign and it seems to glow. She takes this as a sign that she is making another big mistake.

BETTE

What the hell am I doing? I'm running away again. Is running away what we want to do Angelica?

(Angelica gives no answer as she is asleep in her car seat.)

No, that defiantly is not what we want to do. I talked to an old woman at a bus stop once. She told me that running away was never the answer. So how am I going to fix this?

(Bette sees a sign for a reindeer petting zoo.)

I know, let's go see some reindeer and try to figure it out.

(She pulls into the parking lot and gets Angelica out of the car. Angelica comes awake in the cold air.)

Hey baby, want to see some reindeer. Let's go see them.

ZOOKEEPER

You made it just in time. We are just about ready to close.

(Bette pays for entry and takes Angelica to pet the reindeer. Zookeeper follows.)

You have a beautiful baby.

BETTE

Yes, she is beautiful. Thank you.

ZOOKEEPER

Would you like a picture to mark the occasion of her first meeting with a real live reindeer?

BETTE

(Smiles) Sure. (She poses with Angelica and the reindeer as the zookeeper takes a picture.) Thank you.

ZOOKEEPER

No problem, that's what I'm here for.

BETTE

Well we had better be getting back to the hotel now.

(She takes the picture from the zookeeper.)

Say bye-bye Angelica.

(Bette holds Angelicas had and waves it at the zookeeper. The zookeeper waves back.)

SCENE: HOTEL ELEVATOR. Bette is taking Angelica to Tina's room. She is nervous and knows Tina won't be happy. She gets to the room and knocks. No answer. Bette looks around and decides they must not be back from dinner yet so she gets back in the elevator and pushes the lobby button.

SCENE: HOTEL MANAGERS OFFICE. Tina, Alice, Helena, Henry and Office Manager.

O. MANAGER

I am sorry but our records show that Ms. Porter checked out an hour ago at 8:30 p.m.

TINA

(Very agitated.) Did she have my baby with her?

O. MANAGER

I'm sorry ma'am but I don't know. I didn't check her out and the employee who did has gone home.

TINA

Call him at home. Call him.

HENRY

Tina, we know she has her we don't need to call the employee. We need to call the police.

ALICE

Maybe she is still in the hotel. I mean just because she checked out doesn't mean she's gone.

O. MANAGER

Well. She did rent a car.

TINA

Bette what are you doing. Fuck, fuck! (To Henry) I want my baby back now!

HELENA

Let's stay calm and notify the police just to be on the safe side and in the mean time we need to check and see if the car she rented is still here or not and search the hotel.

(She signals to the office manager to make the call.)

HENRY

We should start with her room. There may be some clue about where she is going.

O. MANAGER

(Into phone) Howard, get the key to Ms. Porters room and take these people up so they can have a look inside.

(Everyone exits. Manager makes call to police.)

SCENE: Secluded Hotel rest area with a couple of couches and tables. Bette unloads Angelica and her bags onto one of the couches. Angelica is wide awake and playful for the moment.

BETTE

We'll just wait here where it's quite for a while.

(Digs out toys for Angelica and then takes out her cell phone.)

Hello, I need to book a flight to L.A. for later tonight or the first one going out in the morning. That's right. Fine, book it. Bette Porter. Thank you.

(Finished with the phone call she picks up some hotel stationary and pen from a courtesy shelf. While Angelica plays Bette begins to write.)

SCENE: Bette's Hotel room. Tina, Henry, Alice, Helena, Howard.

TINA

(Circling the small room.) There is nothing here. Nothing! (She looks at Henry.) She could be anywhere by now. (Everyone in room looks worried. Henry hugs Tina.)

HELENA

Let's not lose hope. We should search the hotel.

TINA

(Upset, pushing Henry away.)

This hotel is huge! Where do we start?

ALICE

We can split up. Tina, you and Henry look on all the floors. Helena, look in the parking lots and see if you can find Bette's rental car. Ask the manager what kind it was. I'll search the bars, the shops and the lobbies.

HENRY

Okay. Come on Tina. We'll find Angelica if she is here.

TINA

If she's here? If she's here! And if she's not we are just wasting more time. Bette, why!

(She collapses into Henry's arms and cries.)

ALICE

Let's get started. The manager has called the police and as long as we are looking we aren't wasting time. Let's go.

(Alice and Helena leave the room to start searching.)

SCENE: SECLUDED LOBBY AREA. Bette stops writing and wads up the papers and puts them absently inside Angelicas diaper bag. She takes out the book of poetry that she read to her father while she cared for him.

BETTE

(Picks up a now tired Angelica and lies back on the couch with her.)

Let me read you my father's favorite poem.

(She begins to read and within minuets they are both asleep.)

SCENE: HOTEL BAR. Tina, Henry

TINA

Where are they? We've been looking through the hotel for an hour. Where are the police, where are Alice and Helena?

HENRY

They're looking. This is a big place it will take some time.

TINA

Henry, I'm so lost. What if I never see her again? What am I going to do?

HENRY

We'll find her. And when we do we'll make sure she never sees Angelica again. Angelica needs a father. Tina, I want to be her father. She deserves a normal family.

TINA

We will find her. And when we do I swear I'll kill Bette! All I want is my baby back.

(She cries on Henrys shoulder again. Tina's cell phone rings. She answers it quickly.)

Bette! Oh, Alice.

ALICE VOICE

Tina you need to meet me at the check in desk.

TINA

What is it? Did you find her? I'm going to strangle her!

ALICE VOICE

Just meet me at the front desk.

SCENE: FRONT DESK. Tina, Henry, Alice

TINA

(Angry, looking foe Bette.) Where is she?

ALICE

Tina, I think you need to calm down. I know where she is and I'll take you to her. But, you have to calm down.

HENRY

Tell us where she is. That woman has put Tina through hell and I'm going to make sure she pays.

ALICE

(To Henry) You just need to stay here. (She holds Tina's shoulders.) Calm down now. Everything is okay. I promise. Now come on, just you.

TINA

It's okay Henry. Stay here. I'll be back.

SCENE: SECULUDED LOBBY AREA. Bette and Angelica are asleep on the couch. Bette's book is laying open on the edge of the couch. The picture of Bette, Angelica and the reindeer is on the coffee table with Angelica's toys. Alice holds on to Tina's arm keeping her from running forward.

ALICE

(Whispers) Look. They're asleep. They just fell asleep. Nothing terrible happened.

TINA

(Holding back tears of relief.) They're here.

ALICE

Come on. Let's wake up Bette and try not to wake up the baby.

TINA

(Swallowing back tears.) Okay.

(Tina walks quietly over to Bette and the baby and kneels down next to the couch. She lightly touches Bette's arm. She whispers.)

Bette. Bette, wake up.

BETTE

(Opens her eyes slowly and seems to have forgotten where she is laying. She looks at Tina.)

Oh, hi. I guess you're back from dinner. I tried your room but you weren't back yet.

TINA

Yeah, I'm back.

BETTE

(Sits up carefully with Angelica. Puts her in the car seat. She wipes her hand across her eyes and yawns.)

Hey, we went to see the reindeer. Look. (She shows Tina the picture.)

TINA

(Looks at picture of Bette and Angelica.) It's nice. It looks like it was fun.

(Tries to hand picture back to Bette.)

BETTE

Yeah, it was our adventure. You keep it for Angelica. Just in case it's our last.

(She looks intently at Tina.)

I know you hate me right now for that letter. I just wish you would have let me explain. But, we just can't seem to hear each other right now. I hope you change your mind about the adoption.

TINA

(Breaking Bette's gaze and looking down.)

Bette.

BETTE

(Looks at watch.) Well, I have to go. I have a plane to catch.

(Picks up her book and her purse and exits. Tina watches her go.)

ALICE

I'll go tell the manager everything is okay.

(Exits)

Tina begins gathering the toys and putting them in the diaper bag. As she makes them fit she finds some wadded up pieces of hotel stationary. She smoothes them out and sees that they are in Bette's hand writing. She begins to read.

Dear Tina

Tina

Mother,

I've done something tonight that until hours ago seemed unthinkable. I've just said what may be my final goodbye to the last piece of my life, my daughter Angelica. So much has happened and I've lost so much but I never thought that things would come to this end. I lost you long ago but the pain is still with me. I lost so much time with Kit that we will never get back; we are still almost strangers to each other. I lost dad who I loved so much but who still never could accept me and my life choices fully. I lost a good friend, Dana, to cancer and I didn't get to say good-bye. I've lost Tina the person I loved the most in this world who now can't love me because she wants to be with a man. I ask myself, did I drive her to this because of what I did to her or did she ever really love me? I don't feel like I will ever find the kind of love I had for her again. Now, tonight I may be loosing this beautiful creation that Tina and I craved and planned together for so long. The worst part about it is that it's all because of something I did. I know it was wrong now, but I was gripped to tightly by my own fear, pain and childhood memories that I couldn't see that it was wrong until it was just too late. I am haunted by the possibility that Angelica will grow up and have the same feelings of being lost in the world that I had as a child. I have a heart connection with her that defies even my understanding. Angelica is Tina's child but she is a reflection of me and I know all of the problems that she is going to face in her future.

What will Tina do when someone tells her how great it is that she adopted this little girl? Will she do what you did mom? Smile and keep silent letting those people assume that you weren't my mother and they are correct in their assumption? I need to be there to tell Tina that if she doesn't face those people now and let them know the truth it will only get harder and more painful later, and to help her understand how Angelica will feel when it happens and she realizes what adoption means. When it happened to us mom I felt betrayed and abandoned by you when you didn't correct the assumption that I was adopted. Those feelings grew worse as I had to deal with the kids and teachers in school. Always asking and teasing about if I was sure I wasn't adopted or that my real mother must not have wanted me. There were times when I was even embarrassed to have you around me at school because we looked so different and people would stop and stare. I felt like so much of an outsider because I was so different than everyone else in the family and at school. I know you loved me mom, and I loved you, but I really needed your affirmation of my status as your daughter to the world. This is what I had hoped to give to Angelica and to Tina, affirmation and the strength to face all of the hard realities that a bi-racial family has to cope with out in the world. I just hope that if Tina dissolves the adoption petition and I don't get to become Angelicas other parent that she finds the strength that you didn't have. I wish I could tell her everything to expect and be there to help her through it so that our daughter grows up sure of her place in the world. There was no one in my life that I could talk to about my feelings, no mentor to help me through my high school nightmares, no sympathetic ear to listen to my dilemma about who I should date: the white boy or the black boy. I really wanted to be that person for Angelica, her mentor and her mother.

Tomorrow I may be starting a new life, one with not a single person in it that I love. I'm not sure how to start living again…

Bette

TINA

(As she finishes reading it she begins to cry and leans over to hold her head in her hands. Whispers to her self.)

Oh, Bette. I've made my first mistake with Angelica already, and it was the same one that hurt you so much. I understand now, and I've changed my mind. Angelica needs you.

END SCENE


	2. Chapter 2 Bette’s Parade

**Bette's Parade**

Helena has come to a mutual agreement with Bette and has moved into Bette's spare bedroom as Tina has moved in with her man-friend and Helena has been cut off financially by her mother.

SCENE: Bette's House, poolside. Bette and Helena play in the pool with Angelica.

HELENA

When is Tina coming to get her?

BETTE

(Bette bounces Angelica in and out of the water as Helena watches.)

Actually, she should be here in about a half hour. (To Angelica.) We have plenty of time to play.

HELENA

Have you thought about coming out with me tonight? You do need to get out. It's time.

BETTE

I have thought about it and your right.

HELENA

Wonderful! I'm sure I can help you find someone to take home tonight.

BETTE

(Smiles at Helena) I don't think I'm going need you help in that area.

HELENA

Really? It has been a while, are you sure?

BETTE

Didn't you know? I've been meat tagged. The last time I was out they were lined up.

HELENA

Meat tagged? Well that is something. Okay then, what do you say we make the evening more interesting?

BETTE

What did you have in mind?

HELENA

Okay. We will each sit on either side of the bar and wait. We will make it a competition. When ever one of us gets two numbers we will send the other a drink.

BETTE

So, you plan on getting drunk without spending any money? I think you're exploiting me.

HELENA

(Laughs) You're very sure of your self aren't you? Okay five numbers then and we can put a limit on it.

BETTE

What are the limits?

HELENA

Up to say five drinks and then after that we have on hour to get someone to take home. Sound good?

BETTE

(Looks seriously at Helena.) I'll take your hour but I don't think I'll need that long.

HELENA

(Smiling and pleased with her self.) It's a wager.

BETTE

(Starts out of the pool with Angelica and Helena follows.)

Come on baby let's get all dry. Momma T will be here soon and Momma B has got to get ready for a big night, yes she does.

(Tina walks though the gate.)

TINA

Hi there. You have a big night tonight? What's up?

HELENA

(Drying off.) Bette and I are going out on the town tonight.

TINA

Oh. (She tries to look unconcerned about the two of them hanging out.)

BETTE

You're early again.

TINA

I know, sorry. We are going out with Henry's parents tonight and I just wanted to make sure I could get Angelica ready on time. I didn't think you would mind.

BETTE

(Looks at Tina and frowns for a moment them smiles.)

You know Tina it just happens that today I don't mind. Helena was just telling me it was time for me to get out there again and I agree. I'll tell you what, why don't you take Angelica and get her changed and I'll start getting myself ready for tonight.

(Hands the baby to Tina and walks into the house. Tina follows.)

What time are you bringing her back in the morning?

TINA

(Taking baby's wet clothes off.)

I'll have her back at seven in the morning. I have to go into the studio early and meet with one of the producers.

BETTE

Okay. (She bends over Angelica.) Bye-bye Angelica. Momma B will see you in the morning.

(Looks at Tina. Turns and walks into her bedroom.)

SCENE: NIGHT. Outside of Club Milk. Bette is calm and composed. Helena is anxious to begin the night.

HELENA

Okay, are you ready?

BETTE

(Smiles and without a word walks into the bar.)

WIDE SHOT: Bette and Helena survey room. Bette turns on her erotic energy and starts her walk to the bar with Helena not far behind. A path clears as Bette walks to the bar and several women have to sit down as she passes them. She and Helena sit at opposite ends of the bar and they each order a drink. The women are already on their way to the bar. They give each other a solute and take a drink and wait.

CUT SCENE: Party table.

ALICE

Look. Is that Bette sitting at the bar?

MAX

Yeah, and Helena is at the other end. We should go tell them to come over.

SHANE

No, you shouldn't.

MAX

Why not?

SHANE

They're working the room.

MAX

What do you mean? They're just sitting there.

SHANE

(Takes a drink of her beer.) Just watch.

CUT SCENE: BAR. A stack of cards with phone numbers and two drinks are on the bar in front of Bette and a stunning redhead approaches her.

JILLIAN

Hi.

BETTE

(Sets her burning gaze upon the woman and smiles.)

Hello.

JILLIAN

You're Bette Porter right? I'm Jillian. Do you want to get out of here?

BETTE

(Gives Jillian a feral smile.)

I do Jillian but I have to stay here for about ten more minuets. Will you wait?

JILLIAN

Sure, okay…

BETTE

(Giving that smile that makes anyone agree with her.)

And Jillian, you don't mind if one more joins us do you? You see that girl over there?

(She points to a young girl with shoulder length black hair who is wearing a shirt that shows her well defined abs.)

I'd like you both to come home with me tonight.

JILLIAN

(Looks at girl then back into Bette's eyes.) Of course.

BETTE

Why don't you go and have a drink? When you see me leaving, meet me at the door.

JILLIAN

(Smiles excitedly.) Okay. (Walks away.)

BETTE

(Signals to bartender.) Please send another drink to the lady.

BARTNEDER

She has four already. Maybe you should just go talk to her.

BETTE

(Smiles at the bartender.) Just give her the drink.

BARTENDER

(Shrugs and takes a fifth drink to Helena.)

CUT SCENE: PARTY TABLE. Alice is watching Bette with fear and worry on her face.

ALICE

Oh my god you guys. This is terrible!

MAX

What?

ALICE

I think the old Bette is back. Look.

CUT SCENE. Bette is dancing slowly with the girl with the abs and whispering in her ear. She points out the Jillian. The girl gives a trance induced nod. Bette takes the girl by the hand and heads for the door. They meet Helena at the door with the girl she is taking home.

HELENA

Bette.

BETTE

Helena.

HELENA

This is Carey.

BETTE

This is Leslie.

HELENA

Shall we go?

BETTE

Just a moment.

(Jillian appears in front of Bette. Bette takes both Jillian and Leslie's hands and looks a Helena.)

This is Jillian. Now we can go.

HELENA

(Raises her eyebrows and turns to lead them out of the bar.)

CUT TO PARTY TABLE: Alice is watching Bette and Helena at the door with squinted eyes.

ALICE

Bette just walked out of here with two girls. It was a redheaded Amazon and another girl who looks like she is all muscle. Oh no, no, no!

SHANE

That's great.

ALICE

No, it's not. You didn't know Bette before she met Tina. She was…she was like demon on the prowl. She would just…just fuck you and then drop you. It was like she was insatiable. And, if the old Bette is back that means it is really over for her and Tina. I really hoped never to see this demon side of Bette again.

SHANE

Alice, this is no big deal. Besides, Tina is off fucking some guy so why can't Bette fuck two girls?

ALICE

Well, what if this is just a phase for Tina? If Bette regresses into her demon self Tina won't have a chance.

SHANE

Well, that's Tina's fault. You really can't expect Bette too wait forever for Tina to get over her man-phase. And what if it isn't a phase? Bette deserves some happiness.

ALICE

Yeah, but those girls don't deserve the pain she is going to give then when she forgets all about them in the morning.

SCENE: BETTE'S FRONT PORCH. Bette and Helena are outside and the three conquests are already inside. Helena is about to enter house.

BETTE

(Takes hold of Helena's arm.) Helena, wait.

HELENA

What is it?

BETTE

(Smiles knowingly.) I have another wager for you.

HELENA

Another wager? What?

BETTE

You stay out here and I'll go inside. If I can get the girl you brought home to kiss me you have to stay out of the house tonight and make me breakfast in the morning.

HELENA

(Laughs lightly. Not really believing what she is hearing.)

And if she doesn't, what do I win?

BETTE

If she doesn't kiss me and stay the night I will buy you that outfit you saw last week, do your laundry…and I'll make you breakfast and serve it to you in bed.

HELENA

(Considers the offer.)

You do know how to make things interesting and I really loved that outfit. But where shall I stay, supposing I loose that is?

BETTE

(Looks at the neighbors' house and sees that the light is on.)

You can go over and stay with Jenny.

HELENA

Okay, you're on. Let's see if you can do it then.

BETTE

(Looks over her shoulder at Helena as she walks into the house.)

Helena, I'd like French toast and bacon for breakfast.

SCENE: Through the window Helena sees Bette walking up to all three of the girls and taking the hands of her date Carey. Bette is talking to her then and slowly begins running her hand over her shoulders and up her neck to her face where she softly brushes her lips with her fingers. She leans forward slowly and begins kissing the side of her mouth and her chin al the wile saying things to her the Helena can't here. Then she puts her lips close Carey's and the girl leans forward unable to stop herself and they kiss. As they kiss Bette reaches out her had to Jillian who is standing behind Carey and pulls her into the fold. Jillian begins to take off Carey's top as Bette turns to give some attention to Leslie. The orgy begins, clothes are removed and lips, tongues, hands and fingers are exploring many, many body parts. Helena walks away sadly exasperated.

SCENE: Jenny's house. Late. Jenny and Helena are watching TV and talking. Max and Shane are just getting home.

MAX

Helena, why are you here? Didn't I see you leave the bar with someone tonight?

JENNY

You guys aren't going to believe this! Bette took Helena's date!

MAX

What? Helena what is she talking about?

HELENA

(Looking defeated)

Never make a wager with Bette.

SHANE

You mean…Bette has THREE women over there?

JENNY

(Laughing and bouncing up and down on the couch excitedly.)

Yes! Oh my god! Can you believe it!

SHANE

(Laughing)

You guys, Alice is going to freak out when she finds out about this!

SCENE: Morning at Bette's house. Bette is sitting at the table in her robe freshly showered, reading the newspaper and eating the breakfast that Helena has made her. There is a knock on the door and Tina enters with Angelica. Helena brings more food for Bette. Tina takes note if Helena's seemingly servitude.

BETTE

You're early. It's only six-thirty.

HELANA

More bacon Bette?

TINA

I know. (To Helena.) Is that part of your living arrangement, serving her breakfast?

HELENA

(Smiles up at Tina.)

Believe me she earned it and I really don't mind at all. She is an amazing woman.

TINA

(Mutters.) I can't believe this. (She starts arranging Angelica for her stay.)

CUT SCENE: Jillian walks out of Bette's bedroom carrying her shoes. She walks over to Bette and kisses her.

JILLIAN

Call me anytime. I mean anytime.

(She makes note of Tina and walks out the door. Tina does her best to ignore her.)

CUT SCENE: Carey walks out of Bette's room disheveled and still wet from a shower. Tina shows surprise now.

CAREY

(Walks over to Bette and kisses her.)

I'll never forget this. (To Helena.) Sorry, Helena.

(She makes her way out of the house. She and Tina exchange looks.)

HELENA

(Holds her chin up and smiles bravely.) It's fine.

BETTE

(Smiles and pats Helena on her hand and takes another bite of bacon.)

CUT SCENE: Leslie walks out of bedroom bleary eyed. Tina now can't believe what she is seeing.

LESLIE

(Walks over to Bette and kisses her and hugs her.)

Bette, thank you so much. I think. No, I know that was the best sex I've ever had.

HELENA

Well, when you have three girls fucking you how can it be anything other than good?

LESLIE

That's a good point. Bye. (Walks to front door. Turns toward Tina.)

You left her for a man? (She shakes her head and leaves.)

TINA

(Can't keep her silence any longer.)

What the hell Bette? You two have a parade of girls going through the house now?

HELENA

Whoa! None of those girls were mine. Well, one of them was supposed to be mine but I lost her in a wager.

TINA

Great, Bette. This is just a great thing to have going on around Angelica.

BETTE

(Looks at Tina and gives her a seductive smile. Then she walks over to her all the while holding Tina's gaze and stands close to Tina and reaches out her hand as if to caress Tina's face. But instead she picks up Angelica and turns toward the patio door.)

Hi baby. You know what? If Momma T would have just shown up at the time she was supposed to she wouldn't have had to watch my parade now would she? It's just a good thing she didn't come any earlier. Yes it is.

(Walks with baby out onto the back patio.)

Tina looking furious turns her gaze upon at Helena. Helena holds her and hands up in a surrender signal.

HELENA

You did it to yourself. You did say seven. You know it is true Tina.

TINA

(Shakes her head trying to wrap her head around what she has just witnessed and trying not to let the hurt of seeing other women with Bette show.)

Three?

Helena nods her head and Tina storms out of the house.


	3. Chapter 3 Love, Lies and Secrets

**Love. Lies and Secrets**

SCENE: Tina's office. Tina walks in to a desk full of mail. There is a thick manila envelope marked _"Personal and Confidential," Tina Kennard._ She sets it aside next to a stack of scripts and scans the rest of the mail. Finding nothing urgent she looks at the manila envelope again. She sighs and takes her envelope opener to the thick package. She looks at the first page.

It reads: Ms. Kennard, I am sorry to be the bearer of bad news but things aren't always what they seem. I think this information may save you from any surprises that may be in store for you. Consider this a favor from a friend who has been where you are now and who wasn't so lucky. Good luck to you.

Tina looks confused by the note and sets it aside to look at the pages underneath. She begins to read and scan the pages quickly, her expression getting more concerned and confused with every page.

SCENE: Art class in session. Bette, Jodi/Interpreter, Phyllis. Jodi is in work clothes covered in paint. The class is working on an impaired vision assignment. Very messy.

PHYLLIS

Ms. Porter, I would like you to meet Jodi Lerner. Jodi is head of our Art Therapy Department. She teaches medical students from almost every medical field how art can be used in teaching and healing both the physically and mentally challenged. Her program covers everything from patients with minor childhood problems to the aged and severely ill and everything in between. I recommend that you catch one of her lectures. Jodi this is Ms. Porter. She will be heading the Department for the Advancement of the Arts. She will be putting together shows, helping with recruiting and of course the ever important funding for the arts.

JODI/INTERPRETOR

Thank you for the wonderful introduction. It's nice to meet you Ms. Porter. I would shake your hand but…

(Holds up hands covered in paint.)

BETTE

(Looks at Jodi then interpreter then Jodi again.)

It's a pleasure to meet you. This looks like an interesting class.

JODI/INTERPRETOR

You'll get used to it.

BETTE

What?

JODI/INTERPRETOR

(Smiles.) This guy hanging around me all the time.

PHYLLIS

Oh yes, Jodi is deaf. But it in no way impacts her effectiveness as an instructor. She is also a very gifted artist.

BETTE

(Smiles at her boss.) I see. (To Jodi.) Do you have pieces showing any where?

JODI/INTERPRETOR

Not anywhere prestigious, but a few are in the schools gallery.

BETTE

I can't wait to see them.

PHYLLIS

Well, we must be off on the rest of our tour. Come along Ms. Porter. Jodi, don't forget about the party at the gallery Friday evening. (She and Bette exit.)

SCENE: Henry's Apartment. Tina has come home early, the manila envelope clutched under her arm. She walks around the apartment looking at all the pictures. She takes out two pictures from the envelope and holds them up to one of the framed pictures. The framed picture has the two photos she is holding merged together.

TINA

Shit.

(She pulls out more pictures and finds that other framed photos are combinations of the pictures in the envelope. She sits sown on the couch contemplating exactly what she is seeing.)

He's a fucking graphic designer! Oh my God! Fuck…

SCENE: NIGHT. School Art Gallery. Bette, Jodi/Interpreter, Phyllis. Crowded.

PHYLLIS

Well Ms. Porter it looks like you are quite the success. From all of the people here who already know of you and your work I am positive you will be a great asset.

BETTE

Thank you Dean Kroll.

PHYLLIS

Phyllis, please. Well, I have obligations I must attend to; I'll see you again later.

BETTE

Of course.

JODI/INTERPERATOR

(Approaches Bette.) I hear you have had a busy week.

BETTE

Ms. Lerner. You clean up well.

JODI/INTERPERATOR

I'm sorry I can't say the same for you.

BETTE

(Confused.) Excuse me?

JODI/INTERPERATOR

I just found out you're booking a show for Dr. Thomas Keys. How could you agree to do an installation for him?

BETTE

What do you mean? His work aligns with yours. I would have thought that you of all people would appreciate acknowledgment of the service and accomplishments of your work.

JODI/INTERPERATOR

Our work does not in fact align. Dr. Keys is a con man and a cancer to the work that I am trying to accomplish. You should rethink your decision to install the work he plans to provide.

BETTE

I've looked at the work and it is incredible. Why should I rethink the exhibit?

JODI/INTERPERATOR

None of that work was obtained ethically and I can prove that most if not all of it was coerced from a few of his select patients. One of whom is not mentally ill but is paid by Dr. Keys to create pieces to fit his agenda. Dr. Keys is misrepresenting the works and the effectiveness and results of art therapy for personal gain and notoriety.

BETTE

Ms. Learner, again, the board and I have listened to Dr. Keys' presentation and have viewed the pieces that are to be installed. It made sense. But, if you can prove the allegations you've made you deserve the chance to be heard. I'll send you a copy of the presentation and the slides and you can present your case to the board next week. I'll wait to make my final decision then. I'm surprised you weren't at the presentation since you are so adamant that it is unethical.

JODI/INTERPERATOR

I was in session at the time but I thought that, because of your reputation, you would be able to see though his con. I guess you reputation was inflated.

BETTE

Ms. Learner, I can assure you that my reputation was made by hard work and attention to the most current art movements which allowed me to obtain art that reflects the current age and influences in the world at large. It was not made by my knowledge of medical and art therapy methods. That is where your reputation is made. I suggest that next time something like this that affects your work and reputation comes before the board that you reschedule your sessions and attend the meeting. It was nice to talk with you again. I'll see you at the board meeting next week.

(Walks away as Jodi watches.)

SCENE: SAME NIGHT JENNY'S HOUSE. Shane, Jenny, and Max sitting in living room.

SHANE

And then I told her - If you can't take the heat, get your hand out from between my legs.

JENNY

Oh, that had to make her mad.

SHANE

Yeah, she got up and left. (Looks up at knock on door.)

MAX

I'll get it. Hey Tina, come in.

TINA

(With Angelica.) Hey guys. Sorry to bother you but I came to see if Bette could take Angelica for the night but she's not home yet.

SHANE

She has a gallery party at the school tonight.

JENNY

Yeah, she looked really good when she left. Oh, sorry Tina.

TINA

Its okay Jenny, I'm sure she did look nice. Did she mention when she would be back.

SHANE

No, she didn't. You can stay here and wait for her if you want.

TINA

That would be nice thanks.

SCENE: One hour later. Bette, Tina, Angelica. Bette pulls into driveway and walks to door. She is inside for a very short time and there is a knock. Answers door.

BETTE

Tina. What wrong?

TINA

Nothing is wrong. I was just hoping that you could take Angelica tonight instead of in the morning.

BETTE

(Hesitant) Yes. I mean, are you sure? Come in.

TINA

I'm sure. I've been picking her up early lately and I just thought you would like it if you had a little more time with her.

BETTE

(Takes Angelica.) Thank you.

TINA

I have to go into work extra early in the morning. I had to schedule a Saturday meeting because it was the only time everyone was free.

BETTE

Okay. I have to go to the office tomorrow too. I think Angelica will have fun going with me.

TINA

I'm sure she will. Well, I have to go.

(Bette watches Tina leave and then turns her attention to Angelica.)

SCENE: Same night. Tina is checking into a cheap hotel.

FADE OUT


End file.
